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Tuesday, 31 December 2013

I've decided not to do a best-of-2013 list, as there's too much stuff to write about. Instead I'm looking at my year as a whole with This Noise Is Ours. Below you'll find my personal highlights (which there are loads) and the underneath that, I've broken my year down month-by-month in terms of reviews, in case there's any you've missed. Some of the releases I discuss here will probably have been released prior to 2013, deal with it!

So, what can I say. 2013 is gonna be hard to live up to. So many new, awesome British bands were featured including Corrupt Moral Altar, Opium Lord, Outrage CC, Wraiths and Torpor. I somehow managed to review every single release from Manchester label Church of Fuck! I dug deeper into black metal with reviews featuring Ash Borer, Fell Voices, Ulfarr, Hranblod and tonnes more. I featured several new releases by Yorkshire black metal label Glorious North Productions, whose output just gets stronger and stronger.

In terms of other International bands, I was lucky enough to feature Total Fucking Destruction, Baroness, Howl and my 2013 favourites Seven Sisters of Sleep. I slowed things down with a week dedicated to doom, featuring the likes of Rorcal, Moloch, Open Tomb, Meth Drinker and more.

I stumbled upon a doom band called Pendulous who I really liked. I recommended them as new listening to Andrew from UK label Dry Cough Records, who subsequently released their demo on tape, which shows this blogging lark really works. I also witnessed blog faves Totem Skin work with and release an LP via Dog Knights Productions and more recently, Napalm Christ singing to the might A389 Records.

I featured a fair few labels in special label features including Broken Limbs Productions, Listen To Aylin Records, Enjoyment Records, Headless Guru Records, Baneful Genesis Records and Speedowax Records. I also got my Bandcamp page up and running, streaming tracks by up and coming extreme metal bands including Eshtadur, Bukowski Family, Dead Awaken, Nocturne, Septekh and Fear Theories.

I invited my friend Christer (Owner of Listen To Aylin Records) to write about some of his favourite emo/screamo records in a short series called Great Northern Screamo. He wrote about Dip Leg, Gas Up Yr Hearse and Autarkeia. In October, I released my first free digital download compilation, featuring bands from Yorkshire and the surrounding area. It featured Lazarus Blackstar, We'll Die Smiling, Masochist and tonnes more from all corners of metal and hardcore. Here's the link in case you missed it - http://thisnoiseisours.bandcamp.com

Finally, in December I reached a huge milestone and achieved a readership of 100,000 people from across the globe. I want to take this opportunity to say a huge thank you to everyone, whether it's bands, labels or fans for checking out my blog and making it what it is today. There will be even more coming in 2014!

Sunday, 22 December 2013

Onto something faster now. Again, I've been dragging my heels with Cloud Rat and this record. I've read tonnes of positive words about them since this record that I don't know if I'll be able to add anything to the pot.

Anyway, Moksha was released in January by Halo of Flies, IFB Records, 7 Degrees Records and React With Protest Records. With labels like that clubbing together to release an LP, it must be good. Cloud Rat themselves have been an active band since 2010 and have released four split records and two full-lengths, as well a live-album and compilation of earlier material, so they're pretty productive and definitely hard-working when it comes to touring.

It’s hard to take in Cloud Rat’s music when it’s as quick fire as it is on Moksha. There’s punk undertones, powerviolence-esque speed and raging female vocals. Opener Inkblot pretty much tells you all you need to know as soon as the album kicks off. Cloud Rat don’t really take any breathers initially. heading straight into Aroma, which is slower but no less powerful. Mid-way through the trio launches into a thrashy/crusty section that restores their speed.

I think Madison’s vocals add another dimension to Cloud Rat’s music. There’s an edge to it that while sounding brutal, has an emotion and a sense of real life. It definitively comes across during the quick-fire duo of Corner Space and Olympia. Cloud Rat describe themselves as a grindcore band according to Metal Archives, but I hear more than that. There’s melody in the guitar that brings good screamo to mind during Peer To Peer and Widowmaker and it’s not just noise either. The instruments are all very audible thanks to the production work.

Infinity Chasm shows Cloud Rat in a more introspective space, with calm guitar and clean singing. It’s not an interlude and the mix of clean singing and harsh vocals at the end, helps brings Moksha to life. It’s not long though until Cloud Rat are back to grinding best with Inimitable Sea. I have to admit, I do like the atmospheric instrumental sections that occur within the gaps between the vocals, which are pretty noticeable during the song.

Again there’s no chance for breath between Inimitable Sea and Daunting Daughters. The lack of bass doesn’t seem to be a problem either, as guitar makes up for it. Casse weighs in at a little over two-minutes but there’s more than enough going on within the track to make it seem a lot longer, especially when the band slows the pace down a notch. The ambience that fills the last twenty seconds fits with the haunting mood of the album.

You’re not expecting the country/blues sound of The Needle And The Damage Done’s intro. The guitar again is clean as is the initial singing. The song flits between this and short blasts of grind to provide the standout track of the record. They leave it to Vigil to dispel any positive feelings after The Needle And The Damage Done. Two-minutes of blasting chaos. The emotion in the spoken word section that Madison shouts out is palpable amongst the power of the instrumentation and then with no warning it ends, revealing the light piano of closing instrumental song Moksha. Filled with further ambience and subtle white-noise alongside the piano, this is a haunting end to a chaotic record.

It sums up for me why I like heavy music so much. It’s got personality and a sense of warmth, even though it sounds confrontational. It shows a humane side to Cloud Rat’s members, one of understanding and relation with their listeners. When all is said and done, it leaves you with a feeling of cleansing positivity. Different people will fell different things when listening to it, but that’s what it means to me. This record is one that you can’t miss.

See if you agree with me by listening to Moksha here, via the 7Degrees Records bandcamp page:-

Saturday, 21 December 2013

Beastwars are a band that I've not given enough attention to. They've been on my radar for quite some time. It's quite fitting that they're another band from the far flung shores of New Zealand, as a few of their compatriots have sprung on this blog recently and with the weather being so miserable in UK right now, I'm also dreaming of warmer climes.

Beastwars have been taking it steady since their formation in 2007 and have released two LP's in that time. Their self-title debut in 2011 and the subject of this review, Blood Becomes Fire in April of this year. They're also the only band I know of that've done a tour of Melbourne, Australia! They're also due to make an appearance at Auckland's Big Day Out festival in January and on viewing the line-up, they are probably the heaviest band in attendance. Good work!

The first thing that struck me with Beastwars was the vocals. I was trying to remember who that reminded me of, but it was impossible and futile because they sound like nothing I’ve heard. They add to the impact that Beastwars produce with album opener Dune, which is groovy and heavy all at once. There’s isn’t a huge amount of melody in the riffs, but there are some really atmospheric dynamics at play, especially during the intro of Imperium, which is an off-kilter song at times and where the dispels the grooving on the first number.

Beastwars move in another direction with Tower of Skulls. The heaviness is put to one side briefly and is replaced with semi-clean singing and varied guitar patterns. There is still an underlying groove and menace to it all though. The cool thing about Blood Becomes Fire is that the production isn’t overdone. It’s good and it gives the record volume, but it doesn’t sound false, which allows the band to sound genuine. The intros to songs are usually the clearest before the guitar fuzz kicks in and the drums increase the tone. As you listen to songs like Realms, you start to really appreciate the song-writing of Beastwars as well as their ability to layer them with the right instrumental textures.

It might be an omen and Rivermen begins, because it’s blowing an absolute gale outside my window, which I can actually hear over the music. This is a great song, with plenty of blues influence and even some country elements thrown in. It’s simple and quieter during the verses before it crescendo’s during the choruses. It’s that build up and release that make it a standout for me. After the mid-way point of Rivermen, Beastwars inject more urgency into the album with a trio of heavy hitters, Caul of Time, Ruins and the title track. The vocals melodies are louder and the tempo’s are up, as far as they can be when a band’s chosen genre is stoner/sludge. During the aforementioned title track the bass conquers all.

There’s undeniable rock n roll flair on show during Shadow King, with some great lead work that sounds proper dramatic and leads you into a thick sludgathon. Closing song The Sleeper is Beastwars’ ballad. It’s approached in the same way that Riverman was earlier with more clean singing and calming guitar. They let the bass have it’s moment too, ensuring that the low-end is suitably catered for. It might seem more radio friendly than earlier songs at times, but I think the balance works really well overall.

Blood Becomes Fire shows great musicianship and maturity from Beastwars and I’m gobsmacked that they haven’t been picked up by a big label yet, as they would put many established major label bands to shame. This is a comp;eye grower and will get repeat listens from me for sure.

Thursday, 19 December 2013

That artwork's a bit chilling! What more could you want though from a death metal split. Chicago's Cardiac Arrest joined forces with NYC's Mutant Supremacy for a four-track seven-inch, which was released by Horror Pain Gore Death Productions in July.

Cardiac Arrest have been pumping out squalid death jams since 1997 and this split was the follow up to their 2012 album - Vortex of Violence. They've managed to notch up four full-lengths and are still going strong. In comparison, Mutant Supremacy are still very much at the star of their career, having formed in 2007 and released a demo, an EP and a full-length prior to this split. They do feature a live member of Deiphago amongst their ranks. which is pretty cool.

Sometimes, all you want is some disgusting, noisy death metal with lashing of grind. That’s what this split gives you. Cardiac Arrest start it off with the first of their two tracks, Unhinged. It’s a pretty apt song title as this song’s pace doesn’t let up for a single minute. The growls are deep, the band sound like they are in the room with you and the din from the cymbals is deafening.The final forty seconds feature some of the fastest drumming I’ve heard i ages and a frantic solo. perfect! Their second song, Self-Loathing carries on where Unhinged left off, but with more punk. As much speed but in half the time. It’s over before you know it.

Mutant Supremacy are very much kindred spirits of Cardiac Arrest. They take their licks from the same school of death too. The production, as it was with the A-side is raw but it serves the band well, especially when the screaming solo takes charge towards the end of Gruesome Tableau. By the time They Came With Fire rages into view, you won’t know which way is up. At times it sounds more controlled though the dissonance and feedback, but don’t let it lure your into a false sense of security. It’s brutal.Stream it here:-Split 7-Inch Record (Limited Edition) by CARDIAC ARREST / MUTANT SUPREMACY

Wednesday, 18 December 2013

I think death metal records always seem to have the best artwork. The cover for Black Throne of All Creation features a painting by twentieth-century painter Otto Dix and seems apt when held up against Dehuman's progressive death metal. The band formed in Belgium in 2006 and promptly released their first demo in 2007. It was then five years before Black Throne of All Creation was released via Kaotoxin Records in 2012.

Tracklist:-

1. Apocalypse And Perdition
2. Monstrosity In the Hands of God
3. Eyes of A Thousand
4. Spiral of Loss
5. Down With The World
6. Harvest The Sun
7. Cast of Assassination
8. Black Mamba
9. Path To Oblivion

I’m secretly a bit of a sucker for modern, progressive death metal. I like the melodic guitars and harmonies, as well as the production that goes with it. I guess that’s just a symptom of growing up with metalcore, when I was younger. Dehuman’s brand of death metal is a suitable next step for people moving on from metalcore, certainly in brutality anyway.

They show off their propensity for grand songs straight from the off with Apocalypse And Perdition. It begins with an intro filled with those modern guitar harmonies I was talking about, before progressing into a thrash-laden song filled with double bass and blastbeats. Dehuman seamlessly shift from one song to another, giving you no opportunity to pause. They switch between more expansive songs and shorter songs like Monstrosity In The Hands of God and Eyes of A Thousand, which highlight more of their progressive and technical songwriting, as well as a stirring solo. There’s even room for some vocal effects during the latter.

Dehuman seem to have their own blueprint too, which separates them from their peers. Their mixture of melody and heaviness within the music stops them from sounding formulaic. Their longer songs like Spiral of Loss are kept interesting by tempo-changes and well thought out textures. The bass sticks out during the intro to Down With The World, as the song flings itself into a writhing death/grind mess during the opening bars. The double-bass, while low in the mix, can still be heard blasting away in the background. It provides a hell of a wake-up call at the albums mid-point. As the album progresses, you begin to understand how Dehuman have managed to share stages with the likes of Cattle Decapitation and Aborted amongst others. There sound is mature and controlled and the gap in between their demo and their debut full-length was a decent stroke, as it gave them time to hone their sound. Harvest of The Sun seems almost symphonic at times, at least until the guitar squeals pierce your ears that is!

They seem to hit a new technical level with Cast of Assassination, thanks to some fret-board mastery, which manages to stay on the right side of cliched. Is the song title Black Mamba a wry nod to Steve Irwin? I don’t know, but it is pretty epic with it’s Eastern guitar melodies and fast sweeps. The bludgeoning comes to rest with Path To Oblivion. Dehuman’s last chance to brow beat you with their technical death. The screams at the start are samples but almost sound like they were taken from a grim black metal release. It begins with an elongated instrumental build up which lasts about one and a half minutes. It’s crazy, off-kilter and the drums absolutely flail. There are moments where Dehuman settle into some guitar chuggery, but there’s more than enough going on with the rest of the song to keep you listening.

The whole record is brimming with twists and turns that make it a must for any death metal fan. It proves that Europe is still ahead of the game in DM terms and backs up what I’ve thought all along, that Belgium has the best grooves! Dehuman will soon have a new album out, so get your lugs around this one and then feel the anticipation!Stream the whole album here:-

Tuesday, 17 December 2013

Now any heavy music fan worth their salt will know about the history of Norway's black metal scene. The country has been a bastion of icy, hatred-ridden noise for over three-decades and it shows no sign of stopping. Man Gremmes Kan are another export, forming in 2012 and releasing their debut demo tape, On A Pulpit of Souls via UK label Glorious North Productions earlier this year.

Created by multi-instrumentalist Venomenon and aided during the recording process by Vardalv from Throne of Katarsis on drums, Man Gremmes Kan promises to be an experience steeped in the stench of human suffering and Norse legend and romance.

As soon as you press play on this tape, it’s apparent that the music within has been created by a Norwegian black metal band. No other country could produce such a sound. Man Gremmes Kan, with just two members on this recording, manages to create music with a volume and depth that isn’t common with many two-price bands and it’s startling to think that this is only their first recorded output.

Opening with To Bear False Witness (When Mecca Burns), the sound is clear, guitars razor-sharp and the drums possess a warm, live tone and benefit from a mature performance by Vardalv. The touches of ambience and melody throughout the composition shows a band that favour musicality and thanks to a strong production, there are none of the usual black metal demo sound issues.

The majority of songs on here are around the five-six minute mark, allowing Man Gremmes Kan to explore there song-writing and to allow the songs to flow through a natural progression. The guitars during Our Genocide God have more of a thick, driving effect and pull in some more modern metal elements, whether intended or not. There is still some rawness within the recording that helps it to sound organic and natural.

With Vaar Tornekrone is spewed forth in Norwegian, which adds to the biting coldness of the song. The introspective instrumental section mid-way through allows some rest and some time for contemplation, prior to the chanting and tortured screams that lay ahead. The rhythms seem to lean towards punk at times when the tempo is paired down slightly, which also gives the blastbeats more impact when they take centre stage.

Man Gremmes Kan seem to hit their blackened stride during World Turned To Ash. The rasping screams threaten to wrap themselves around neck and squeeze, while the piercing cymbals bury themselves deep within your head. The endless energy of the band is more apparent during Om Blekes Fall. Venomenon and Vardalv power their way though a suitably chaotic intro and into a song that twists and turns. In the space of just over four minutes, the mood switches from maddening to serene and then back again.

Ending with the title track and some clear yet loud guitar riffs, Man Gremmes Kan settle into a disdainful dirge that promises to crush you. The more measured pace actually adds to the song and while the tempo does increase later on, the two textures really compliment each other. With this tape, Man Gremmes Kan know exactly what they want to achieve and manage to do it with six songs which are to the point. They don’t make things overly messy or arty, they just use their musical ability in the right way. Another fine release from Glorious North and another band to watch out for in the future.You can stream On A Pulpit of Souls here:-

Monday, 16 December 2013

When I first got this seven-inch and put it on, to my ears it was the embodiment of what hardcore should sound like. Now, I appreciate that hardcore has many different strains and encompasses many different sub-genres within it, but I'm talking about hardcore in the true sense. whether it be straightedge, youth-crew or just straight-up hardcore, Will To Die struck a chord.Anyway, Mass Grave was released in 2012 via Speedowax and features six tracks. It was limited to two hundred and forty copies. One hundred on yellow vinyl and one hundred on black vinyl, with various amounts featuring different colour sleeves.. Will To Die are another top US band from Knoxville, Tennessee.Tracklist:-1. Mass Grave2. Disloyal3. Embers4. Iron Fist5. Desperation6. Pain And SufferingI know mosh-heavy hardcore is more prevalent nowadays, which has diluted it a lot, but there are still some quality bands around. Will To Die are an example of such bands. Starting with the title-track, they play simple yet crushing riffs and the tough-guy vocals are spat out with true emotion, instead of sound like crap rapping. Will To Die prefer a mid-paced tempo for the most part but also groove really well. Disloyal sums this up perfectly.

Embers sees them pick up that pace a bit and full-on rage, with some thrash-swagger thrown in for good measure. The energy that was infused into Embers on the A-side, is carried over onto the B-side with Iron Fist. The riffs take centre stage again and the drums pound as hard. Mass Grave feels very uplifting and positive in-spite of the intensity it conveys. It’s definitely hardcore for those who have become jaded with the likes of Hatebreed.

The simplicity of the song-structures are clear during Desperation, which highlights Will To Die’s less is more approach. If there’s a band I want to see live before I die, it would be these guys. By the time the seven-inch closes with the catchiness of Pain And Suffering, you’ll be as hooked as I am on Will To Die. This band and this seven-inch have inspired me to dig deeper and find more kick-ass US hardcore bands and believe me, along with Bad Habits, Machinist and Kato that I featured in my previous reviews, this is only the tip of the Iceberg.Mass Grave isn't streaming online, but Will To Die are streaming this record's opening three tracks on their Bandcamp page:-Iron Fist EP by Will To DieYou can buy Mass Grave on sweet vinyl from Speedowax here - http://www.constantrotation.bigcartel.com/product/will-to-die-mass-graveWill To Die Facebook - https://www.facebook.com/will2dieSpeedowax Records Facebook - https://www.facebook.com/speedowax

Sunday, 15 December 2013

I'm chuffed to say that This Noise Is Ours﻿ has hit a major milestone. I've gained over 100,000 readers since I started this three years ago, which is a figure I never even considered hitting. I just wanted so say thanks for everyone's support and to all the labels and band how have submitted music and continue to do so. To celebrate this milestone, I'm excited to announce a new digital compilation, which will see the light of day in early 2014. This is different to my first one in that it will be solely curated by new US label ANVILEATER RECORDS﻿. The aim of this comp and future comps is to spread the word about DIY and underground labels and the bands that they support. I will be inviting other labels to do the same in the future too.You can check out ANVILEATER RECORDS here - http://www.anvileaterrecords.com/

Saturday, 14 December 2013

I broke up from work for Christmas, which mean I should be able to get a load of review written in between the festivities. I'm using this afternoon to write my other two hardcore seven inch reviews, thanks to Speedowax Records. This one features Georgia, US hardcore band Machinist! Their debut five-track record Black List, was released earlier this year. It was limited to 100 copies, with five different coloured sleeves as part of the label's sixteenth birthday.

Machinist! play fast hardcore, laced with power-violence. Keys is a powerful opening song, showing plenty of menacing intent. For Of My Tongue, they are joined by Jon from a band called Sleep Patterns from Florida. His vocals add a caustic energy to Machinist’s sound and are a perfect fit for their fast tempo’s.

Tusk And Teeth is twenty-six seconds long. It’s over in the blink of an eye, but still features plenty of breakneck riffs and percussion. I thought a song called Teen Wolf would be tongue-in-cheek, but something tells me this is not. Machinist! keep it simple and blasting, with a hint of thrash coming though in the song. They manage to increase the intensity with Prayed Upon, which is a longer song with a heavier stomp. The bass rumbles through it and there’s more space for the instruments too.

This seven inch is short and completely to the point, which is the way hardcore should be. Machinist! actually have a new record out, which is great because this thing is too short. It shows good musicianship when a band can appeal to both the moshing pit-freaks and the more reserved, appreciative hardcore fans, but somehow Machinist! manage it no problem.
Now, get your mosh on to Machinist! here:-

Thursday, 12 December 2013

Carrying on from where I left off on Monday night, here's a review of the latest seven inch from US hardcore band Kato. Buried With The Rain is a three-track record that was released as a collaboration between Speedowax Records and fellow UK label Middle Ground Records. Their not just a hardcore though, they also add post-metal and doom into the mix.

Tracklist:-

1. Yet His Shadow Still Looms
2. And All of The Rats Gather
3. Dust of Earth

Atmospherics are used more and more nowadays to build anticipation and none more so is that the case than in post-metal. Bands like Isis and Neurosis have been using them for years, alongside bands like Year of No Light and countless doom bands. Kato use them to rouse the listener during seven-inch opener Yet His Shadow Still Looms. It gives way to lightly plucked guitar, with a subtle undercurrent of droning noise, that does actually sound strangely tuneful. The majority of the song is instrumental, switching between dissonant heaviness and moments of calm. It’s not until the three and a half minute point that Kato introduce vocals to the song. Their vicious screams too and fit right in amongst the doom-laden hardcore.

And All of The Rats Gather keeps the atmosphere dark and dank, with a sampled speech playing over the top of more guitar-led dissonance. Without warning Kato explode into a grinding, sprawling mass before settling back into a more mid-paced hardcore rhythm. It carries on the caustic energy that was hinted at towards the end of the opener. The textures and melodies created by the guitars keep a haunting presence during the verse.

End song Dust of Earth is the most straightforward in terms of hardcore flair, but it still airs on the darkened side of the genre. For a three-piece, when Kato get going, they go for the jugular. They sound almost European in their delivery, which is pretty refreshing too. These three tracks are long enough to leave an impression and shows the band in an experimental and menacing light. The melody that underpins the album keeps it from sounding muddied and Kato have more than enough instrumental house between them to take it further. Good stuff indeed!
Buried With The Rain is available to stream via Kato's bandcamp page:-

Sunday, 8 December 2013

I've been neglecting Speedowax for way too long. Especially, when I own a lot of the label's 2013 output! I felt I needed a break from the doom metal that I've been writing about this last week, so I decided to pick four of the latest seven inches to write about. Rich (Speedowax head-honcho) is a massive supporter of hardcore and has been putting out some top stuff over the last twelve months.

This first review features Bad Habits. I don't know too much about them other than their a four-piece hardcore band from Pensacola, Florida. They've been around since 2012. This record was pressed to celebrate the 16th birthday of Speedowax and each one was hand-numbered!

Tracklist:-

1. Exile
2. Two Faces
3. Steel Cage
4. Parting Words
5. Beaten Path
6. DiscardThis is crossover as hell! Bad Habits throw out some great hardcore with a twist of thrash. The thrash-like vocals remind of Tom Araya at his most rabid, but with more energy. Exile features riffs that sound groovy and bring the beatdown. For a first seven-inch EP, this is really tight. Bad Habits get more ferocious as Two Faces starts. It’s got more of a punk edge than the record’s opener and there’s a great, understated solo. The dual vocals are more apparent in this song, with the crossover vox standing out next to the deeper hardcore vox.

Steel Cage has wrestling written all over it. The slightly off-kilter intro might catch some people off guard, but it’s not long before they’re pounding again. They manage to fit a lot into a two-minute song and the melodic solo at the mid-point shows a hint of dramatic songwriting from the band. The title track is a moody interlude that prepares you for Beaten Path. Bad Habits get their groove on again during the build up and the rhythms from the drums will no doubt incite chaos live. The energy of the band comes across really well on their recorded output, which isn’t something you can say about every band. There’s plenty of volume in the recordings and it sounds meatier for it.

Discard starts in a sedate manner but it’s anything but when the verse kicks in. The drums fills are creative and bridge the gap between transitions well. Those deep hardcore bellows are almost bowel shaking. As the song and indeed the seven inch fades out, you’ll be feeling like you take on the world. That’s what hardcore does, it empowers you and gives you strength. This is recommended!Parting Words is available to stream in it's entirety here:-Parting Words by Bad Habits
It's available from the above bandcamp page as a pay-what-you-want download.

Saturday, 7 December 2013

I'm closing out my week of doom with another Feast Of Tentacles release. Again featuring Moloch, alongside Canadian blackened sludge band Ensorcelor. This split is a very different beast to the Meth Drinker split I reviewed yesterday. Where that one was fast (in doom terms), this one if is more thoughtful. Containing three songs with one from Ensorcelor and two from Moloch, it's promises to take things down a more barren path.

Released in a limited batch of 600 black records, it was a cooperative effort by FoT, fellow UK label Psychic Assault and Dutch label Graanrepubliek. It's another pretty stunning record with a black and plain card cover that draws inspirational from the occult, with an indented insert featuring the lyrics and web links

This is my first introduction to Ensorcelor. I’m expecting something nightmarish. The intro to Flesh Dreams In Uninhabited Space starts promisingly with a choral passage that makes the hairs on your neck stand up, it’s that chillingly beautiful. That beautiful atmosphere is shattered two-minutes in though, by sloth-like instrumentation. It’s torturously slow, with bleak, rasping black metal vocals matching the tempo.

At times those rasping screams are joined by low-pitched vocals that rumble as much as the bass does. There’s a sinister but underlying sense of melody too, added by subtle ambience and the occasional metallic lead. The song is over twenty minutes long, so there’s plenty of opportunity for you to pick those subtleties out. The siren calls mid-way through add to the sense that you’re being dragged under, such is their powerfulness. The calming clean guitar section feels perfect set against the doom background and breathes some life into the song, which has otherwise been drowned by ungodly emotion and feedback. It’s testament to Ensorcelor’s song-writing that they can bridge the transition between the two textures and it works so well. I find myself staring out at the slowly blackening skies, which are awash with fiery red, wondering if I have actually passed through into the underworld.

It’s then Moloch’s turn to carry on widening their void of misery. Very much picking up where they left off on the Meth Drinker split, they begin with Nihilist. Punctuated by screeching feedback, the verses lurch forth with bass-heavy tone. This song seems to pick up pace as it builds. Possessing the groove that will get you’re head-banging. There’s nothing cliched or contrite about the doom that’s laid down here and it conjures visions that shouldn’t be witnessed by any living being.

There’s a short gap before Protagonist draws you in with lowly guitar. When the thicker riffs and vocals kick in, the sound level immediately rises. Swathes of sound wash in and out of the speakers and subtle dissonance hits you. A lot of doom records can turn into endurance tests very quickly, but along with Ensorcelor’s contribution, there’s more than enough variation here. The difference between both bands actually make this an enthralling piece of art and a cleansing listening experience.

Friday, 6 December 2013

I'm in need of a release. It's been a busy week and tonight's commute took the biscuit. One hour to travel what would normally take thirty minutes when the trains are running normally and insufferable fellow passengers. I'm quite tolerant but I have limits! Anyway, my release comes in the form of this cracking split from UK gloom-mongers Moloch and graphic New Zealand sludgers Meth Drinker.

I love it when bands from opposite ends of the globe find an affinity and work together and this was one of the records I was eagerly awaiting this year. I know it's been out for a little while now, but I couldn't resist reminding you all about that harrowing claret cover art and the matching tones within.

The split was released by Feast of Tentacles in cooperation with German label Crucificados and was limited to 700 copies. 500 on black and 200 copies on red, with a really nice large card insert inside, featuring the songs, lyrics and prominent band logos. It's a really nice release.

When people think of doom, they think of looonnngggg songs. Well, you don’t get that here. Meth Drinker, drenched in feedback, open their side up with Spleen Splitting Pavement. It’s quite an apt song title as the bass tone they produce probably would split your spleen if played loud enough. Vocals are used sparingly and the guitar tones are low. The drums hold down a menacing beat, which only pauses to allow that bass to take centre stage for brief moments. 731 (Reprise) is a lowly interlude, before Meth Drinker pick up their feedback drenched gloom again with Test Subject.

If this is what it feels like to used in bizarre medical tests, then I don’t want to be a part of it. It’s crazed enough to drive you mad, digging it’s way into your subconscious with a claustrophobic live sound. Picking their pace up for the intro to 2 Minute Hate, which rounds out their side, they let samples do the talking before unleashing a cacophony of growls that echo all around. They get a bit trippy mid-way through, though their minimalistic doom is not far away. Their formula of keeping things to the point, works well but still leaves them enough time to groove and add subtle ideas. Another pleasing slab of noise from NZ.

Moloch are slightly more pensive with their first contribution, Vomit Phobia. A calm guitar intro makes for peaceful listening before they lurch into live, with more buzzing feedback and a metallic sound clash from the cymbals. If you’ve ever had the pleasure of seeing Moloch live, you’ll know that they’re pretty damn engaging, even when at a near halt. Vomit Phobia gives you plenty of time to get immersed, as it spans over nine minutes.

They don’t stay at the same tempo through the song though. They inject the mid section with a more up-tempo passage which breathes life into the song and their use of simple but creative riffs, helps prove that their song-writing is still at a very high level. With no break, Moloch’s second song Hunchback begins. It’s more off-kilter and dissonant this time, which has the band sounding more confrontational. It feels like they’re winding up to something, as the tones change and the guitars scream before odd riffs are unleashed in time with the drums. UK doom has always been inventive and genre-leading and Moloch are leading it’s extreme sect in my eyes.

Tuesday, 3 December 2013

Okay, it's time for an actual doom review! This is a tape I've had for a while and I've been dying to review it for quite some time. Coming from the jaws of another one of Manchester's uber prolific metal labels, Dry Cough Records, this discography tape of sorts collects seven tracks from New Zealand three-piece Open Tomb. New Zealand is really kicking out so sick slow jams at the moment, with these guys and Meth Drinker becoming more prominent. In fact both these bands have shared a split together in the past.

Open Tomb have been spewing doom since 2011, but already have a two demo's, a single, a split and this compilation tape to their name. The tape features the four tracks that made up their self-titled demo, the two tracks from their side of the split with Meth Drinker and an unreleased song.

Tracklist:

1. Despair
2. Life Fucker
3. Monday Leviathan
4. Damned To Forgive
5. Off With His Hands
6. Hostile Womb
7. Blood And Flies (Demo)Open Tomb awaken with the opening bars of a song aptly named Despair. It’s bass-heavy tones pretty much some up what’s to come. It’s got all of the trappings you’d expect from a doom record. There’s groove, slow and sorrowful drumming and tortured screams, which sees them airing on the side of Funeral doom initially. As Despair rolls on, the lead guitar adds a bit of vibrancy to the murky doom. It’s not overplayed and is used just enough to be tantalisingly effective. They seem to momentarily stop mid-way through the song, becoming more minimalistic as the song approaches it’s dismal end. What an opening song to star on and if you’re patient, you’ll be rewarded.

Life Fucker sees Open Tomb go even more minimalist. A long instrumental section draws you in, only to be brow-beaten by more raspy screams. This song is short in doom terms and proves that you shouldn’t expect short doom songs to be fast. Open Tomb do a top job of condensing things into such a short song. It’s easy to get totally lost in this ungodly dirge during Monday Leviathan. The riffs, while low in the register still make you pay attention. I thought New Zealanders had a sunny disposition! The final song featured from their self-titled demo is Damned To Forgive, which is another shorter piece. The tempo is as bleak as it’s predecessors.

Next up are their two slabs from that split with Meth Drinker. Off With His Hands manages to sound both gloomier and more engaging at the same time. It might be due to the slight variation in riffs. Don’t get me wrong, it’s still low and it still crawls along, but it does sound like Open Tomb evolved through their song-writing after their initial demo. Some bands change their sound almost completely after their demo releases, but for Open Tomb it does seem like they favour gradual progression, which kind of makes sense when you consider their chosen sub-genre. Damn I love this! If you just zone out, turn off any artificial light or electronics and just sit with this on, it creates all kinds of whirling visions in your head. Hostile Womb for me is the standout in Servants Of Slow. That effect is all the more apparent as well, when the vocal effects enter the fray.

Closing out the tape is the unreleased demo Blood And Flies. By now, you’re probably either unable to move because of the sheer weight of the riffs or your hallucinating some kind of darker than dark visions, but one thing for sure, this last tome will be your end. Open Tomb seem oblivious to the outside world. They’re content to drag everyone down and make the feel the pain and hurt that they feel. The cries during the closer are enough to prove that their doom is gruesome enough to drive any lesser man mad. Not for the faint of heart!

Monday, 2 December 2013

Winter is well a truly here and while it's not as bleak as winter in other countries, it's certainly cold enough for me. It's nights like this where all I want is some music to become entrenched in. Something truly enthralling yet disturbing at the same time. That's why I've chosen to dedicate this week to doom and sludge, although with this review I'm not exactly sticking to that by the letter.My first review features a three-way split from 2012 between Swiss ambient black metal band Profond Barathre, Swiss doom/sludge/metal band Rorcal and fellow Swiss experimental black metal band Malvoisie. This record was released via Rorcal's own label Cal of Ror Records and features three expansive tracks, with the record clocking in at over forty-five minutes.Tracklist:-1. Profond Barathre - Illunis2. Rorcal - Vilavege I3. Malvoisie - 1291Proceedings begin with Illunis by Profond Barathre, which begins quietly. It builds with ambience and subtle vocal chanting. Illunis stretches out for over twenty minutes and listening to the opening section, it’s easy to understand why they wanted to take their time. At this point it sounds more like an ambient noise song than a black metal number, but then first impressions aren’t everything. The initial ambience dies away close to the four-minute mark, before guitars pierce the silence and alongside that familiar chanting, helps the noise levels build slowly. Illunis whirs away like a doom song, dragged by those cold screams and the melancholy of the guitar. Their are occasional off-kilter passages, but even these have a tuneful beauty to them. For me it’s still the haunting chanting that sounds scarier. it’s when Profond Barathre reach the second part of Illunis, that their music starts to really touch you. Their ambient side shine through with some great clean guitar melodies. It settles things down after the slow assault earlier in the song.

Rorcal are sandwiched in the middle with Vilavege I. Their sound here is big, with plenty of different textures. They edge toward a more black metal influenced sound with this song; however, at times it also combines elements of countrymen The Ocean, in it’s expansive instrumentation. The vocals are delivered with a lot of emotion and power, which adds depth too and there’s more urgency than in this split’s opener, as it’s ten minutes short. The orchestral layers add grandeur and a further symphonic black metal edge. Some of the more ambient melodies created by the guitar are stirring, especially when allowed to roam free on the recording. That doesn’t stop Vilavege I one from sounding any less terrifying though. As the song fades out, Rorcal leave a stark impression that buries itself deeply within your sub-conscious.

This split finishes with arguably the most experimental and strange number. Malvoisie produce something chilling with 1291. They’re a duo and use electronics amongst their black metal, to create a noise/ambient back drop that propels them into darker, deeper places. The vocals here may not be to everybody’s tastes, but they seem more then suitable when next to the atmosphere that the band creates. The further you get into 1291, the weirder it becomes. The cries at the mid-point seem to take on a call and response type pattern with the deeper growls, while the chants rest in the background. When vocal harmonies enter the fray, it’s a welcome element that proves that Malvoisie aren’t afraid to explore more musical directions. It’s heartening to know that they aren’t going to just implode in their own madness.

Okay, so you were expecting doom and I didn’t give it to you. What this review did prove though was that genre-convention can basically be shoved down the nearest cesspit. All three songs here have doom elements within their make-up and that if your a fan of metal, particularly extreme metal, you’re more than likely to be open-minded and to explore everything that the genre has to offer. You can stream this entire split via the Profond Barathre bandcamp page here:-http://profondbarathre.bandcamp.com (for some reason I can't embed the usual bandcamp player in this post. Probably something to do with my Macbook!).You can order physical CD copies of this split directly from the bands, as it appears that Cal of Roar Records has ceased trading.Profond Barathre Facebook - https://www.facebook.com/profondbarathreRorcal Facebook - https://www.facebook.com/Rorcal
Malvoisie Myspace - https://myspace.com/kvltofdarkness